The entrance door engages the sensory experiences of touch and sound as it leaps into a rabbit hole of memory. The existing site door was retrofitted to give it a renewed lease of colour and elemental play. A radial octet of hand horns occupies the centre while bicycle bells stipple the scarlet door.

Welcome to the circus!

The acts of whimsical fanfare begin to unfold right at the entrance. The art installation adjacent to the entrance passageway comprises an electric pole found in a scrapyard which was accessorised with defunct appliances and gadgets like a plasma television, CD players, and retro computer speakers in zesty colours!

The installation was further made to feel like a slice of life representation with the inclusion of repurposed wire from which dangle tattered clothes, shoes, and kites — an extremely quintessentially Indian visual that makes a debut in every mohalla (street).

A series of arches dot the passage when one makes their way inside. Bathed in a lively warm teal hue, these arches made of scrap metal pose as architectural features to create a sense of movement as one traverses the space. Grunge chandeliers made of bike chains and metal filings levitate over the passageway, flanked by upcycled vehicle headlights that present themselves as bespoke luminaires

The billing counter stretches itself along the expanse of the passageway and culminates as a live salad counter on the far end.

The billing counter is a classic steampunk piece brought to life by ingeniously collaging arbitrary junk upon the front elevation of the counter in collaboration with Mechanimal.

The carcass of the live salad counter was rendered in a stark black hue because of the snippets of discarded tyre patches. Worn out tyres were salvaged, sliced into smaller portions, and consequently nailed into place, an experimental project inching upon insanity as it stretched over the course of a month. This process resulted in an ebony canvas that was layered with leather trimmings, fringes, discarded rubber tyres, manhole covers, safety pins, pipe sections, and metal tacks creating a monochrome mosaic.

The flooring is a mishmash of discarded samples that have been assembled in a Tetris-like fashion, procured from ceramic, tile stores, and active sites of fellow designers in the city — each sample measured, and every segment ideated individually while it forms an integral part of a larger visual tapestry.

The entrance to the café is earmarked by a buffer zone that rests behind the veil of an artisanal barn door which seems to have been teleported through time from the confines of an underground speakeasy! Illustrated by Artist Shunnal Ligade, the Snitz’s merry mouth that splits wide open unable to contain his roaring laughter has been backed by a lining of perforated metal sheet. This ante space hosts a fleet of custom food carts that emulate the produce-to-plate concept in a new light with these ingenious contraptions. Finished in hues of pastel blue, yellow, and mint, these food carts are a humble homage to the ‘haathgaadis’ possessed by Indian vegetable and fruit hawkers. Curvilinear in their make, the carts exude an industrial nuance in the form of their filament bulbs fixtures, wooden crates, and tubular structure.

The heart of the floor plan is occupied by the mammoth community table which surreptitiously hugs a structural column, expanding almost organically around it. The reclaimed pine wood top has been swathed in a white hue, with dual-toned white and lilac legs that were formerly adjustable aluminium furniture legs procured from an office space. The chairs, though each unique in their make, abide by a cohesive design palette refurbished in sprightly printed fabric choices.The carnivalesque linear pendant that presides over the community table is a stellar collaboration amidst Light and Tape Artist Nithin Sadhuand our wallpaper vendor. Nithin has pieced together intricate tape to create a custom fascia for the luminaire which is amalgamated with upcycled snippets of wallpaper. A miniature racetrack installation seems to find its bearings in an alternate dimension as Jim Beam race-car form sculptures whizz upon to compete in a lap that the human eye cannot witness.

The floral neon- tubed chandelier in the lounge area blooms in complete glory as the evening inches on and the surrounding box lights by Nithin Sadhu have been layered with custom filaments that give them a cosmic iridescence!

A section of the focal collage wall moving into the corporate section is staunchly embedded with a collection of e-waste and discarded furniture, that have been pieced together to reimagine it as a haptic jigsaw. The core intention was to ensure that the waste in its originally dishevelled form now assumes the aura of a curated artistic sculpture, wherein each object has been carefully made a constituent element in the larger picture, with some elements that can be functionally utilised .The furniture here was refurbished with new fabric which sports dapper Gingham checks and pinstripes. The high-back chairs specifically seem to have gotten Barney Stinson’s memo and are ‘suited up’ to impress!

It’s always Christmas and a jolly time for merriment all year round at this next table! A brass-finished metal signage arch reaches across the length of the table, spelling out the word ‘Christmas’ as dainty fairy lights encase the calligraphy precariously.

The base of the table has been created using discarded plywood and the chairs have been reupholstered in custom Alice In Wonderland-inspired prints that boast of rabbits, antelopes and owls decked up to grace a stately reception in town with scrap mild steel armrests shaped into form.

The focal wall behind the Christmas table is a collection of e-waste, sanitary fixtures, discarded furniture, and bits and bobs that have been pieced together to reimagine it as a haptic jigsaw. The core intention was to ensure that the waste in its originally dishevelled form now assumes the aura of a curated artistic sculpture, wherein each object has been carefully made a constituent element in the larger picture, with some elements that can be functionally utilised.

The focal wall behind the Christmas table is a collection of e-waste, sanitary fixtures, discarded furniture, and bits and bobs that have been pieced together to reimagine it as a haptic jigsaw. The core intention was to ensure that the waste in its originally dishevelled form now assumes the aura of a curated artistic sculpture, wherein each object has been carefully made a constituent element in the larger picture, with some elements that can be functionally utilised.

The artist’s section has taken a renewed approach towards upcycling abandoned couches that dotted the roadsides in the city. They have been painted in a distressed finish and embellished with paintbrushes over which portraits of ever so posh damsels have been painted by Artist Kamesh Bhagatji. The table here has been composed of old paint barrels which were coupled with stray bits of mesh and rope to be finally adorned by graffiti art created by Artist Shunnal Ligade.

A glimpse to the belle of the ball in the Christmas section , the Water Closet seat. The base was made utilising a discarded metal drain cover upon which a WC fitting found on site was lodged.

Various paraphernalia from the donation drive has been tactfully assembled to embellish the same. It’s the best seat in the house in our opinion and truly from where we believe the best ideas are conceived too!

The visual at the corner end is one straight out of a 60s Americano film, especially the ones in which the protagonist travels down long expressways with no refuge in sight. Suddenly from nowhere a mysterious drive-in motel manifests itself into existence! An ensemble, the wall here is a juxtaposition of a decrepit fuel storage tank, a ladder of turned bars, and a network of sinuous PVC pipes that lead up to the retro-chic marquee signage that reads ‘Motel’. The kitchen service window is framed by obsolete cassette tape boxes covers, the waiter’s station below boasts a deep teal patina, and legs composed of old glass blocks reclaimed from the site

A table against the Americano-inspired wall reigns in a spectrum of hues and textures as the drawer faces and chairs have been finished in a fabric patchwork procured in the form of discarded fabric samples. The sewing machine and floral-wreath lamp are also experimental installations.

The most unexpected vantage views at the venue and experiencing the space from the privacy of a caravan that seems to emerge from the walls of BigTop. A post- apocalyptic war and time machine of sorts, this grand doodah has been created from the bare shell of a truck from a city scrapyard. Customised to a T with every detail envisioned by the team and the mad minds at Mechanimal, extensions in the form of discarded car parts, fire extinguishers, a satellite dish, and scrap metal come together to further layer the persona of this experiential installation.

A view from the mezzanine showcasing the various tables at the mezzanine space while it also gives a glance of the one portion of the ground floor that the mezzanine over looks on to

The flooring in the entire space is a mishmash of discarded samples that have been assembled in a Tetris-like fashion, procured from ceramic, tile stores, and active sites of fellow designers in the city — each sample measured, and every segment ideated individually while it forms an integral part of a larger visual tapestry.

One of the tables on the the upper deck washed in a lively coral hue have been detailed with defunct sanitary pipe sections and electronic regulators, An ‘elbow’ light fixture conjured to life by the studio illuminates these tables. The industrial lighting fixture hoisted over the nooks is a composition of sanitary pipes and hexagonal mesh that wraps itself delicately around an exposed warm light tube on the interior.

The other coral table is detailed with electronic regulators and jazzy iridescent CDs as a celebration of the 60s golden Disco era.

The pièce de résistance is the partition system that stands at the periphery of the dining area and the community desk space overlooking the interiors of BCC. An obscure portal in its inspiration, the installation is a composite of mild steel sections found on the site interspersed with plywood display shelves that stack up upon slender metal support members. This installation is further interjected with doses of salmon pink, motor gears, discarded teapots, and film reel boxes amidst other arbitrary curios.